"Sand stories" alludes to the bronze story of the German philosopher Friedrich Nietzsche.
(Photo courtesy of RGR Gallery)
(CNN Spanish) -
Diego Pérez is a Mexican artist who, throughout his career, likes to articulate the sculptural imagination with the mixture of simplicity and aesthetics, and this time he presents “Historia de arena”.
To create it, Diego Pérez let his imagination fly: “Historia de arena is an amalgamation of many ideas and moments from my artistic practice in recent years.
The title alludes to the term "Bronze History" popularized by the historian Luis González y González, which refers to history as a monumental and sacred past, a vision under which bronze buildings, statues and monuments were reproduced throughout the country, glorifying our historical past.
With this title I propose that nothing is eternal, that even the most solid cities and civilizations are destined for their transformation and, perhaps, even their ruin ”.
Arena Story considers the inevitable ruin and transformation of a monument.
(Photo courtesy of RGR Gallery)
According to the artist, “the exhibition consists of two moments;
On the one hand, the installation 'Infinite Table' is presented, which reflects on the implications of a monument, whose purpose is to preserve an event or historical character and, on the other hand, also talks about the passage of time and how the apparent Material solidity of these historical visions is subject to change ”.
"The first part is made up of a series of sand sculptures entitled 'The infinite table'.
It is a kind of sand castle on a marble, basalt or other stone slab, each one made with a different material.
These castles change with the passage of time until their lines and shapes vanish.
With this sand, endless shapes can be erected over and over on the same table.
It is a series of changing sculptures, they will never be the same and they do not have a definitive shape, that is where their charm lies in part.
The second part is made up of an installation, photographs and sculptures carved in volcanic stone, which give an account of the concept of ruin and change ”, adds Pérez.
The exhibition is made up of two moments, "Infinite Table", which reflects on the implications of a monument, whose purpose is to preserve an event or historical character and on the other hand, talks about the passage of time and how the apparent material solidity of those historical views are subject to change.
(Photo courtesy Gakería RGR)
In the RGR Gallery it is mentioned that Pérez's work is situated on the frontier of sculpture, monument, architectural model and installation, weaving a critical reflection on the political, economic and social situation of the Mexican context.
Pérez himself explains: “Part of the work that I present in 'Historia de arena' is undoubtedly sculpture, but on its display it alludes to typical and common monuments such as busts of patriotic heroes (The anonymous hero and The Basque hound are an example ), some are photographs but their content is highly sculptural, some look like models, such as the Infinite Tables, as they represent scale buildings or a marble table with two stairs can give rise to the idea of the architectural model, and the Nameless Wall is a piece that goes between sculpture and installation.
Diego Pérez has exhibited mostly in Mexico, but he is someone who undoubtedly has a projection to show what his imagination presents him, in any gallery in the world.
“Historia de arena” can be visited in person under the hygiene and safety measures and protocols at the RGR Gallery in Mexico City, but in the same way, the viewing room of the exhibition can be visited virtually on its website until October 31.
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